Ann-Sofi Sidén: In Passing, 2007
geboren 1963 in Stockholm, Schweden, lebt und arbeitet in Stockholm und New York. Sie studierte in Berlin und Stockholm. Anfangs als Malerin tätig, erweiterte sie ihre künstlerische Praxis zur Video-, Film- und Performancekunst bis hin zur Bildhauerei. Ihre Arbeiten thematisieren die menschliche Psyche und die Mythologisierung des „Selbst“ und wurden u.a. im Musée d’Art Moderne Paris, im Contemporary Arts Museum in Houston, in der Reina Sofía in Madrid, sowie bei der Biennale in Sydney und 53. Biennale von Venedig präsentiert. Im KULTUM wurde Sidén in der Ausstellung „mutter. Neue Bilder in zeitgenössischer Kunst“ (2010) gezeigt.
born in Stockholm, Sweden, in 1963; lives and works in Stockholm and New York. She studied in Berlin and Stockholm. Initially a painter, she extended her artistic practice towards video, film, and performance art, and even sculpture. His works thematize the human psyche and the mythologization of the “self”; they were presented i.a. in the Musée d’art moderne, Paris, in the Contemporary Arts Museum, Houston, Texas, in the Reina Sofía, Madrid, as well as at the Sydney Biennale and the 53rd Venice Biennale. Sidén’s works were shown in the KULTUM in the exhibition “mutter. Neue Bilder in zeitgenössischer Kunst“ (2010).
Ann-Sofi Sidén: In Passing, 2007
Happiness Has No Mercy—particularly if it cannot be accepted as such. For pregnancy can mean many things. It can be pure joy. Or fear. Or pain. Whatever the case may be: The Swedish artist Ann-Sofi Sidén sheds light on the dark sides in her art. In the frame of a fellowship in Berlin, she saw the facility of the so called “baby flap” for the first time. The baby flap, which is located in the outer wall of a maternity ward, is actually a drawer with a handle which can be pulled out. Behind it, there is a little bed to put in the baby. Shortly after the flap is closed a signal rings out in the labor room and a midwife picks up the baby and hands it over to the pediatrician in charge. Ann-Sofie Sidén filmed such a situation in Berlin: How the mother who will abandon her baby in a few moments brings it there, how she opens the flap and lays the child into the little bed—and how the hospital takes it over and looks after it. This radical act takes center stage in this work and is visualized by means of two screens showing the images of the surveillance cameras of the baby flap. The story of mother and child is hinted at on four projection surfaces which are diagonally arranged in the gallery space. Two videos shown side by side on large screens accompany the protagonist on her way to the baby flap and her first steps after that, into an uncertain future. The projections on the opposite wall trace the events in the hospital before and after the baby was found. The formal arrangement of the touching moving images is crucial, and it creates a spatial composition in whose center the baby flap works virtually as an interface.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 844-845.